Filippo Lippi.

by Paul G. Konody.

I

In Vasari's gossipy _Lives of the Painters_, and indeed in most art histories written before the era of scientific critical research, there is an inclination, in the absence of doc.u.mentary material, to reconstruct the old masters' characters and lives from the evidence of their extant works. Many a charming legend, that was originally suggested by the expression of the painter's personality in his art, and has been handed down from generation to generation, had to be shelved as dusty archives yielded new knowledge of indisputable prosaic facts to the diligent searcher. Whilst the serious student owes a debt of deep grat.i.tude to those who devote their time and labour to the investigation of doc.u.mentary evidence, and to establishing critical standards for the sifting of the great masters' works from those of their followers and imitators, the elimination of romance from the history of art is a hindrance rather than a help to the ordinary person who cares not a jot about morphological characteristics, but loves nevertheless to spend an hour now and then in communion with the old masters. For him, paradoxical though it may seem, there is more significant truth in many an entirely fict.i.tious anecdote, than in the dry facts recorded by the conscientious historian.

Thus we know now that Domenico Veneziano outlived Andrea dal Castagno by several years, and could therefore not have been foully murdered by his jealous rival. But does not the fable of this act of violence, suggested no doubt by the fierceness and rugged strength of Andrea's art, help the layman to understand and appreciate the qualities which const.i.tute the greatness of that art? We know now that Fra Angelico, far from accounting it a sin to paint from the nude, was an eager student of human anatomy; but the stories told of his piety and angelic sweetness have become so fused with everybody's conception of the Dominican friar's art, that even those to whom the spiritual significance of art is a sealed book, search almost instinctively for signs of religious fervour and exaltation in Fra Angelico's paintings. The stories of Sodoma's habits of life and of his strange doings at Mont' Oliveto belong probably to the realm of fiction, but they serve to explain and accentuate the worldly tendencies of his artistic achievement.

In these instances, to which many others might easily be added, the artists' personality and manner of life have been fancifully reconstructed from the character of their work. Very different is the case of Fra Filippo Lippi. Here criticism has seized upon certain authentic facts of the Carmelite friar's life and amorous adventures--facts that in their main current have been established beyond the possibility of dispute, even though they have been embroidered upon by imaginative pens--and has dealt with his art in the light of that knowledge, reading into his paintings not only his artistic emotions, but his personal desires and pa.s.sions. Only thus can it be explained that generation after generation of writers on art have misconstrued the exquisite and touching innocence and virgin purity of his Madonna type into an expression of sensuality. Again and again we read about the p.r.o.nounced worldliness of Fra Filippo's religious paintings, about their lack of spiritual significance and devout feeling.

[Ill.u.s.tration: PLATE II.--ST. JOHN THE BAPTIST WITH SIX OTHER SAINTS

(In the National Gallery, London)

The companion picture to the "Annunciation" lunette is the first rendering in Italian art of a Santa Conversatione in the open air. It is just an a.s.sembly of seven saints, without any real inner connection, the two pairs at the sides--SS. Francis and Lawrence on the left, and SS.

Anthony and Peter Martyr on the right--being absorbed in their own doings and paying no attention to the blessing which St. John apparently bestows upon SS. Cosmas and Damia.n.u.s, the patron saints of the Medici family. The little glimpse of a landscape background behind the marble bench affords evidence of Fra Filippo's close study of Nature even at that early period.]

Vasari, of course, is the fountain-head of this misconception of the Carmelite's art. According to the Aretine biographer, "it was said that Fra Filippo was much addicted to the pleasures of sense, insomuch that he would give all he possessed to secure the gratification of whatever inclination might at the moment be predominant, but if he could by no means accomplish his wishes, he would then depict the object which had attracted his attention in his paintings, and endeavour by discoursing and reasoning with himself to diminish the violence of his inclination.

It was known that, while occupied in the pursuit of his pleasures, the works undertaken by him received little or none of his attention."

It so happens that many of the discreditable incidents of the friar's life, recorded by Vasari, have been confirmed by doc.u.mentary evidence.

There is not a shadow of doubt that Fra Filippo did abduct the nun Lucrezia Buti from her convent; that Filippino Lippi was the offspring of this illicit union; and that the Frate subsequently did not avail himself of the special papal dispensation to wed the nun. There is also abundant proof to show that Fra Filippo, in spite of the high esteem in which he was held as an artist, and which caused him to be entrusted with many a remunerative commission, was for ever in financial straits, was involved in many vexatious law cases, attempted to cheat his own a.s.sistants, and had no hesitation to break faith with his patrons. But all this does not affect his art. To read sensuality into his types of womanhood can only be the result of prejudice, of approaching his pictures in the light of the knowledge gathered from the pages of the chroniclers. Worldly he is compared with the pure, exalted spirituality of the Dominican Fra Angelico, but only in so far as he belonged already to the new era which had discovered, and revelled in, the visible beauty of this world of ours, whilst Fra Angelico, his contemporary, still belongs to the earlier age that looked to the empyrean for all true happiness. The art of both masters is planted in Gothic soil, though it bore different fruit, that of Fra Angelico being still essentially Gothic, though often tinged with a Renaissance flavour, whilst that of Fra Filippo has all the richness and fullness of the Renaissance, of which he was one of the great initiators.

That such conceptions as the Virgin in National Gallery "Annunciation,"

or the lovely Madonna in the _tondo_ at the Palazzo Pitti, and many other authentic works by the master, are lacking in spirituality of expression, cannot be seriously maintained by anybody who approaches these pictures with an open mind and judges the artist by his achievement, not by his manner of life. Even Mr. Berenson, the most authoritative modern critic of Italian art, denies Fra Filippo a "profound sense of either material or spiritual significance--the essential qualifications of the real artist," although he admits in the same essay[1] that "his real place is with the genre painters, only his genre _was that of the soul_, as that of others--of Benozzo Gozzoli, for example--was of the body." Browning, with the true poet's intuition, states the case of Fra Filippo more clearly than the vast majority of professional critics from Vasari to the present day, when he makes the friar exclaim:

"... Now is this sense, I ask?

A fine way to paint soul, by painting body So ill, the eye can't stop there, must go further And can't fare worse!...

Why can't a painter lift each foot in turn, Left foot and right foot, go a double step, Make his flesh liker and his soul more like, Both in their order?...

Suppose I've made her eyes all right and blue, Can't I take breath and try to add life's flash, And then add soul and heighten them threefold?"

II

Whereas all questions concerning Fra Filippo's artistic education remain largely a matter of conjecture and deduction, there is no lack of doc.u.mentary material for a fairly accurate reconstruction of his life.

Vasari remains, of course, the basis for any such attempt; but the archives of Florence and Prato have yielded a rich harvest of contemporary records, on the strength of which it is possible to clear up the contradictions and to correct the numerous errors that have crept into Vasari's life of _The Florentine Painter, Fra Filippo Lippi_.

Filippo was the son of Tommaso di Lippo, a butcher in a poor quarter of Florence, and of Mona Antonia di Bindo Sernigi. None of the various dates given in his wonted loose fashion by Vasari for the birth of the artist, accords with ascertainable facts, which point to the years 1406 to 1409, with probability favouring the earlier date. According to a doc.u.ment in the Archivio di Stato in Florence, confirmed by an entry in the account books of the convent of the Carmine, in which "Philippus Tomasi" is stated to have received his garments at the expense of that establishment, Filippo took the habit in the year 1421. There are no reasons to doubt Milanesi's well-reasoned suggestion that the artist was fifteen years of age when he took the vow--which would place the year of his birth about 1406.

"By the death of his father," continues Vasari, "he was left a friendless orphan at the age of two years, his mother having also died shortly after his birth. The child was for some time under the care of a certain Mona Lapaccia, his aunt, the sister of his father, who brought him up with great difficulty till he had attained his eighth year, when, being no longer able to support the burden of his maintenance, she placed him in the convent of the Carmelites." Since, however, an income-tax return, discovered by Milanesi, proves Mona Antonia, Filippo's mother, to have been still alive in 1427, and apparently in tolerably comfortable circ.u.mstances, this account of Filippo's sad childhood must be relegated to the sphere of fiction. Destined for the Church, he was presumably at the age of eight placed with the Carmelites to be prepared for his vocation. That he showed no inclination for book-learning and "manifested the utmost dullness and incapacity in letters," and that he preferred to daub his and the other boys' books with caricatures, need not be doubted, for his extant letters prove him to have been strikingly illiterate even for his days. Nor is Filippo the only artist who evinced an early inclination for the artistic profession in this manner.

[Ill.u.s.tration: PLATE III.--THE VISION OF ST. BERNARD

(In the National Gallery, London)

The Vision of St. Bernard, although at present the mere ghost of a picture from which almost every vestige of the original colour has faded away, is an important landmark in Fra Filippo's life, as it is one of the few works about which we have definite dates. It is mentioned by Vasari as being one of two pictures intended to be placed over doors in the Palazzo della Signoria, Florence. A contemporary record states, that on May 16, 1447, Fra Filippo received 40 lire for having painted "the figure of the Virgin and of St. Bernard." The companion picture, which represented the "Annunciation," has disappeared.]

And now Vasari loses himself in a tangle of incorrect and contradictory a.s.sertions. First, that the Brancacci Chapel of the Carmine had "then"

just been finished by Masaccio, and so delighted the young Carmelite that he "frequented it daily for his recreation," and so completely absorbed Masaccio's style "that many affirmed the spirit of Masaccio to have entered the body of Fra Filippo." At this period he painted several frescoes in the Carmine, and one in _terra verde_ in the cloister of that church. As a result of the high praise bestowed upon him for these early efforts, "he formed his resolution at the age of seventeen, and boldly threw off the clerical habit."

To begin with, the account books of the Carmine show that Fra Filippo remained at that monastic establishment at least until 1431, when he was about twenty-five years of age. That even then he did not throw off his clerical habit is clearly proved by the fact that he subsequently held the posts of abbot of S. Quirico a Legnaja, and of chaplain to the nuns of Sta. Margherita at Prato. Of the early frescoes recorded by Vasari and other writers, every vestige has disappeared, so that it is impossible to trace through them the supposed direct or indirect teaching of Masaccio. But there is something wrong about the dates.

Masaccio wrought his Carmine frescoes between 1425 and 1427, so that his could not possibly have been the earliest influence upon the young monk's impressionable mind. Nor is there even a hint of Masaccio's monumental style in the earliest known works by Filippo: the two "Nativities" in the Florence Academy, and the "Annunciation" in the Pinakothek in Munich. That Fra Filippo, like all the masters of the Florentine Renaissance, was, in his later life, powerfully influenced by the genius of Masaccio, is only natural, and cannot be doubted by anybody who has seen his frescoes at Prato. For his earliest inspiration, however, one has to look for other sources; and modern criticism is pretty well agreed upon this point, that the pictures painted by the friar in his youthful years are based on the trecento tradition, and that the only late Giottesque who could have been his master is the Camaldolese, Lorenzo Monaco.

Lorenzo Monaco's teaching, at any rate, is suggested by Fra Filippo's first "Nativity" at the Florence Academy, which suggests the methods of the school of miniaturists in which Lorenzo had been trained, although these tendencies are clearly tempered by the influence of Masolino, Masaccio's precursor in the decoration of the Brancacci Chapel, and also of Fra Angelico. Indeed, this "Nativity" was actually for a long time attributed to Masolino. Throughout his life, Fra Filippo, in his steady advance from Giottism to such triumphantly vital achievement as his Prato frescoes, evinced the greatest eagerness to absorb what was newest and best. No doubt he watched Masolino at work at the Carmine, and later on Masaccio, whose influence clearly appears in Fra Filippo's mature work. But he also learnt from the example of all the other masters who wrought in and near Florence in the early part of the fifteenth century. Sir Frederick Cook's _tondo_ clearly shows the influence of Gentile da Fabriano. Of Fra Angelico we are reminded by the profound devotional feeling and mystic intentness of his early works.

From Pier dei Franceschi he acquired afterwards the feeling for atmospheric effects which was unknown to the Giottesques, to Fra Angelico, and even to Masaccio. Nor did he fail to study the reliefs of Donatello, of which we are forcibly reminded by the "Madonna and Child with the laughing Angel" at the Uffizi. And since Miss Mendelssohn has shown that the dancing Salome in the Prato fresco is practically copied from the figure of "Luna descending from her Chariot" in the relief on the Endymion sarcophagus, we have proof that Lippi was also a student of the antique.

The patronage which the powerful Medici family, and especially Cosimo de' Medici, bestowed upon Fra Filippo Lippi, probably dates back to the time when the friar was still working within the walls of the Carmine.

The "Nativity" (No. 79) at the Florence Academy was painted in the early thirties of the fifteenth century for Cosimo's wife, who commissioned it for the Camaldoli hermitage. For Cosimo himself he painted the two lunettes now in the National Gallery: "The Annunciation" and "St. John the Baptist with six other Saints," which were originally placed over two doors in the Riccardi Palace. Other pictures by their protege were sent by members of the Medici family as gifts to the King of Naples and other Italian princes. And there is no lack of doc.u.mentary evidence that the friar frequently pet.i.tioned members of that powerful family for pecuniary or other a.s.sistance, for his disorderly habits of life brought him into many a sc.r.a.pe, and resulted in constant financial stress. Thus in a letter of August 13, 1439, to Piero de' Medici, he describes himself as "one of the poorest friars in Florence," whom G.o.d left to look after six unmarried, infirm, and useless nieces. The object of the letter was to beg his patron to be supplied with wine and corn on credit.

When Cosimo was banished from Florence in 1433, and took up his residence at Padua, he was accompanied by a small army of courtiers and artists. It is very probable that Fra Filippo was of their number.

Vasari's brief reference to paintings executed by the master in Padua is supported by Filarete and the Anonimo Morelliano, and may therefore be relied upon, although every trace of these works has vanished. There is nothing in the extant records of the artist's movements to make his presence at Padua in 1433-4 appear impossible. On the other hand, Vasari's story of Filippo's capture by pirates on the coast of the Marches of Ancona, his long-extended captivity and final liberation by his master whose favour he had gained by the excellence of art, and his visit to Naples on the home journey, belongs to the realm of fable.

In or before 1437, Fra Filippo was certainly back in Florence, since the _Deliberazioni_ of the Company of Orsanmichele show that in that year he was commissioned to paint the great altarpiece of the "Madonna and Child, with Angels and two Abbots" for the Barbadori Chapel in Santo Spirito, which is now one of the treasures of the Louvre. It is this picture to which Domenico Veneziano refers in a letter to Piero de'

Medici, dated Perugia, April 1, 1438, asking to be entrusted with the commission for an altarpiece, since "Fra Filippo and Fra Giovanni have much work to do, and especially Fra Filippo has a panel for Santo Spirito which, should he work day and night, will not be done in five years, so great is the work." Yet in the following year we find him writing a begging letter to the same Piero de' Medici.

[Ill.u.s.tration: PLATE IV.--THE ANNUNCIATION

(In the National Gallery, London)

This charming lunette and its companion, "St. John the Baptist and Six Saints," were painted for the decoration of an apartment in the Riccardi Palace, by order of Cosimo de' Medici, whose crest--three feathers in a ring--is introduced in the stucco ornamentation of the bal.u.s.trade. They were painted about 1438, towards the end of Fra Filippo's first Florentine period, and show far greater richness of colour and better management of light than his earlier known works at the Florence Academy. The perspective is still faulty, and the vase in the centre of the picture is terribly out of drawing. It has been suggested that this picture and the "Seven Saints" were the very panels on which Filippo Lippi was at work when he effected his romantic escape from Cosimo's palace, which is the subject of Browning's well-known poem.]

There can be no doubt that the gay friar led the life of a true "Bohemian"--that he was fond of women and wine, and wasted his substance in the company of his boon companions. He spent his money as rapidly as he earned it, and was therefore in constant financial difficulties, which involved him in no end of litigation. His most prosperous years apparently began in 1442, when, probably through Cosimo's intervention, Pope Eugene IV. made him rector of the parish church of S. Quirico a Legnaja, of which post he was deprived by papal decree as a result of an action brought against him by his a.s.sistant, Giovanni da Rovezzano.

Giovanni sued him for the amount of forty florins due to him for work done, and Fra Filippo did not shrink from producing a forged receipt. To this at least he confessed on the rack "when he saw his intestines protruding from his wounds." Whether much weight can be attached to a confession obtained by such means is another question, but there is nothing in the career of Fra Filippo to make such disgraceful conduct appear impossible.

An appeal to the Pope led to another investigation of the case. The judgment of the Curia was confirmed, the Pope referring on this occasion to Fra Filippo as a painter _qui plurima et nefanda scelera perpetravit_. Nevertheless, some years later, our artist is still mentioned as _rettore e commendatario di San Quirico a Legnaja_. From which it may be a.s.sumed that the judgment deprived him merely of his spiritual office, and left him in enjoyment of the revenue connected with the post.

The ups and downs of Filippo Lippi's career in the fifties of the fourteen-hundreds are more than a little confusing. Of commissions there was no lack. And certain emoluments must have come to him from his ecclesiastic appointments. His disgraceful conduct towards Giovanni da Rovezzano, and the notorious looseness of his morals--one need only recall the well-known anecdote of his escape through a window of the Medici Palace in search of amorous adventure--did not stand in the way of his being made chaplain to the nuns of S. Niccol de' Fieri, in 1450,[2] and of Santa Margherita in Prato, in 1456. He bought a little house at Prato in 1452, and another in 1454. During this whole period he had so much work on hand that he was unable to fulfil his contracts, which led to further unpleasant litigations. Yet in 1454, as we learn from Neri di Lorenzo di Bicci's diaries, he found it advisable to deposit some gold-leaf with the said Neri, in order to save it from seizure by his creditors. On July 20, 1457, he writes to Giovanni de'

Medici to ask for an advance payment for work in hand--the same work, presumably, over the execution of which he was so tardy that Francesco Cantamanti had to visit his studio daily to urge its completion on behalf of his patron. In his report to Giovanni de' Medici, dated August 31, 1457, Cantamanti states that on the preceding day Fra Filippo's studio was seized by his landlord for arrears of rent.

[Ill.u.s.tration: PLATE V.--THE CORONATION OF THE VIRGIN

(In the Accademia, Florence)

The crowning achievement of Filippo Lippi's second Florentine period, the great "Coronation of the Virgin," was commissioned by Francesco de Maringhi, chaplain to the nuns of Sant' Ambrogio, who died long before the completion of the picture, having provided in his will of July 28, 1441, for the manner in which settlement should be effected. Thus, in 1441, Filippo was already engaged upon this altarpiece, which he did not complete before 1447. On June 9 of that year he was paid the stipulated fee of 1200 lire. Although the picture has suffered considerably, it is even in its present condition one of the most entrancing creations of Florentine art. That the painter himself was proud of the result of his labours, may be gathered from the fact that he introduced his own portrait in a prominent position. In Borghini's _Riposo_, published in 1797, it is stated that the painter's name, "Frater Filippus," was then to be seen somewhere near the centre of the picture.]

Meanwhile the Carmelite's art had made prodigious progress. Filippo Lippi, the pupil of the last Giottesque, was now swimming abreast of the mighty current of the Renaissance. If his early Madonnas recall something of the spirituality and nave faith of Fra Angelico, the altarpieces of his later Florentine period, and, above all, the superb "Coronation of the Virgin," painted for Sant' Ambrogio, and now in the Florence Academy, are inspired by the beauty of this visible world. The atmosphere is of this earth, and not of the celestial regions. His types are no longer ethereal, but realistically robust. In the "Coronation of the Virgin" he has left us a portrait of himself at the age of about forty, in the figure of the kneeling monk on the left, towards whom an angel raises a scroll with the lettering IS PERFECIT OPUS. The features are rather coa.r.s.e and heavy, but scarcely express that low sensuality which his biographers have tried to read into them.

The expression of his eyes in particular is intelligent, frank, and good-natured.